Softcore scenes in arthouse movies lost their power to shock a long time ago, but the naked body can still leave you reeling. Just ask Xan Brooks, who won't easily forget Gérard Depardieu's eye-popping performance in Welcome to New York

Henry Barnes presents our weekly round-up of the big cinema releases. This week we're heading deep into the subconscious with Danny Boyle's Trance; gunning for glory via GI Joe: Retaliation; peering into the domestic life of an unsuspecting family with François Ozon's In The House, and watching two gangs come to an uneasy truce in Penny Woolcock's One Mile Away. With Peter Bradshaw and Andrew Pulver. This is the audio-only version of the Guardian Film Show

Letters: Is there a whiff of raisins amers in your report on French cinema (January 29)? Auteurism with box-office appeal may not be what it used to be, but its spirit lives on in the work of filmmakers such as Jacques Audiard and François Ozon - and Alain Resnais and Claude Chabrol are still at work.

Geoff Andrew: I hate using the word iconic when used to describe people, but in this instance we are talking about an icon because Catherine Deneuve's face was used as the image of Marianne [the French national emblem of liberty and reason] for the bicentennial of the French Revolution. She is one of the most iconic stars in world cinema, and a great actress.

Three years ago, Charlotte Rampling made a film that seemed personally resonant in its tale of inexplicable suicide and unbearable grief. Now she has made another film with director François Ozon, which takes a far happier turn. Together, she reveals to Suzie Mackenzie, the two films reflect her own life - burdened for decades by an oppressive secret she can now let go.